| 摘要: |
| 非遗文化空间的生产过程被挤压乃
至消解，是历史古镇发展中的常见现象，具
体表现在非遗传承断层与文化空间失活、非
遗过度产业化和空间文化性丧失、文化空间
同质化与非遗认同感降低等方面。厘清非遗
与文化空间之间“空间、要素、主体”三方
面的关系，在此基础上构建“非遗文化—生
产主体—空间”三元辩证的文化空间生产分
析框架；以崇州怀远古镇为例，对民间力量
主导下的自发建构、政府与本土企业合作的
资源集聚，以及借助外力对文化空间符号化
与商业化拓展构想等不同历史阶段的文化空
间生产过程与实践结果进行剖析；从文化空
间演化、文化空间符号化逻辑、文化生产参
与主体三个方面，揭示了历史古镇文化空间
生产过程的典型机制。对历史古镇构建具有非遗特色的文化空间格局和场所具有一定参考价值。 |
| 关键词: 非遗传承 文化空间 空间生产 怀远古镇 |
| DOI：10.13791/j.cnki.hsfwest.20220202 |
| 分类号: |
| 基金项目:国家自然科学基金面上项目（51878558）；中央
高校基本科研业务费专项资金项目（YJ201932） |
|
| Cultural Space Production Process of Historical Ancient Towns from the Perspective ofIntangible Cultural Heritage Inheritance: Taking Huaiyuan Ancient Town in Chongzhou asan Example |
|
ZHAO Wei,YANG Wenyan,WU Xiao
|
| Abstract: |
| The inheritance of intangible cultural heritage is a process of continuous renewal and
development of culture, whose essence is a kind of cultural production. Cultural production takes
culture and capital as means of production, while inheriting intangible cultural heritage, it also
affects the changes and sustainable development of cultural space. It is a common phenomenon
in the development of historical ancient towns that the production process of intangible cultural
space has been squeezed and dissipated. It is embodied in the intangible cultural heritage faults
and cultural space inactivation, the excessive industrialization and cultural loss of intangible
cultural heritage, the homogenization of cultural space and reduction of intangible cultural
heritage identity, and so on. Based on the perspective of intangible cultural heritage inheritance,
the cognition of the production process and mechanism of cultural space in historical ancient
towns is still insufficient. The specific relations between the space, elements, and participants of
intangible cultural heritage inheritance, understanding the evolution characteristics of cultural
space, the production process and practical results of cultural space in historical ancient towns
needs to be described. These are the contents that need to be deeply discussed in the development
of ancient towns’ cultural space under the goal of intangible cultural heritage inheritance.
This paper clarifies the relations of “space, elements and participants” between intangible
cultural heritage and cultural space, establishing a analysis framework of cultural space
production based on the ternary dialectic of “intangible cultural heritage-participants-
cultural space”. Then it takes Huaiyuan ancient town in Chongzhou as an example, analyzing
the production process and practical results of cultural space in different historical stages,
which can be divided into three stages: the rattan stage of spontaneous construction under the
leadership of folk forces, the rattan art stage of resource agglomeration through the cooperation
between government and local enterprises, and the rattan cultural stage of symbolic and
commercial conception of cultural space with the help of external forces.
From three aspects of the evolution of cultural space, the logic of cultural space
symbolization, and the participants of cultural production, this paper further analyzes the typical spatial production mechanism of cultural space in historical ancient towns. Firstly, the cultural space form of Huaiyuan rattan weaving has
experienced three evolution stages of “point-line-surface”, and the process of spatial evolution from the inside to the outside in the historical ancient
town. Secondly, Huaiyuan rattan weaving has experienced the transition process of “cultural resources-local economic capital-symbolic cultural
capital”. In this process, the form of intangible cultural heritage is constantly changing and its connotation is expanding. Finally, the production
subjects of Huaiyuan rattan weaving cultural space has shown a trend of diversification, but the market subject is lacking, the main force of local
enterprises is always relatively weak, and there is a lack of local participants.
According to the analysis framework, interpreting the evolution of the three development stages of “Huaiyuan rattan weaving” cultural space
can better reveal the typical characteristics of cultural space production from the perspective of intangible cultural heritage inheritance. The
participants of cultural space production is more diversified, which is no longer limited to Huaiyuan rattan weaving practitioners. The symbols of
Huaiyuan rattan weaving are also constantly generalized, gradually expanding from the inside of the industry to the inside of the small town society,
and even to a larger social field, so as to realize the integration of industry, culture and residents’ life in the spiritual field and ideological field.
However, we have to remain vigilant about the problems in the current production, such as spatial confusion, weakening of culture, limited spatial
development, reduced recognition of intangible cultural heritage, difficulties in the transformation of spatial “cultural symbols”, and so on.
In addition, it needs more concerning that whether the multiple participants such as intangible cultural heritage inheritors, local governments,
social organizations and volunteers can strengthen cooperation, and whether they can continue to carry out the co-creation of intangible cultural
heritage themes and related cultural space practices. Only in this way, in the face of strong capital, can it be possible to fully respond to the cultural
space representation of intangible cultural heritage inheritance needs with a relatively reasonable mechanism. Then it can build productive, living
and cultural places with the characteristics of intangible cultural heritage, as well as a good and orderly cultural space pattern. It has certain
reference value for the construction of cultural spatial pattern and place with intangible cultural heritage characteristics in historical ancient towns. |
| Key words: Intangible Cultural Heritage Inheritance Cultural Space Space Production Huaiyuan Ancient Town |
